1. FULL SHOT - REAR AREA - (DAY) - (GLASS)
This is December 24, 1944, in the first safe area
directly behind the battle line, in the Italian theatre.
In the distance occasional artillery light flashes are
seen and artillery rumbles are heard. The battered
terrain shows the effects of battle.
In the foreground is a recreation area, covered with
camouflage; entertainment is in progress on a raised
stage. Men of the division are seated about on benches,
boxes, and the ground. A camouflaged motor pool of
jeeps and tanks is nearby.
2. MED. SHOT - NEAR RECREATION AREA
We can HEAR LAUGHTER and APPLAUSE from the men as a
jeep with two stars on the front indicating it is
the General's car jounces along a road toward the side
of the recreation area. A YOUNG SERGEANT is at the
wheel, an ADJUTANT beside him, and in the rear are
GENERAL WAVERLY and GENERAL CARLTON.
3. JEEP - MED. CLOSE
As it jounces along. General Waverly is weather-
beaten and weary; his uniform, while neat, shows the
effects of long wear. General Carlton, on the other
hand, is stiff, clean and fresh from the Pentagon.
He is staring off at the recreation area.
What's this all about, Colonel?
A little entertainment for the men,
sir. Tonight's Christmas Eve.
These men are moving up tonight. They
should be lined up for full inspection!
The jeep has come to a halt.
You're absolutely right.
There's no Christmas in the Army,
Waverly and the Adjutant alight from the jeep.
There's always a slip-up or two
during a change in command. The
men get a little loose. But I
know I'm leaving them in good hands.
Sergeant, take me to headquarters
immediately! We'll have those men
turned out on the double!
The Sergeant looks at General Waverly.
Goodbye, Sergeant. Take the short cut.
The jeep pulls off and makes a half circle. The
Adjutant makes a gesture, as if to stop it. The
General stops him.
4. TWO SHOT - GENERAL WAVERLY AND ADJUTANT
The Adjutant turns to him.
That's not the way to headquarters!
Joe, you know that, and I know that,
but the new General doesn't know it.
Or he won't for about an hour and a
That Sergeant'll be a private tomorrow!
Yes...isn't he lucky?
He takes the Adjutant by the arm and leads him toward
the recreation area.
5. RAISED PLATFORM - MED. SHOT
CAPTAIN BOB WALLACE (BING CROSBY) is wearing a makeshift
beard and Santa Claus hat and PRIVATE PHILIP DAVIS
(DONALD O'CONNOR) is in combat clothes. They are
doing a number to entertain the soldiers, WHAT DOES A
SOLDIER WANT FOR CHRISTMAS? During introduction, we
5A. TWO SHOT - GENERAL AND ADJUTANT
just starting to take seats, off to one side where
they are not noticed by the performers.
5B. GROUP SHOT - ABOUT 6 SOLDIERS
seated in audience. They look off, see General, start
5C. TWO SHOT - GENERAL AND ADJUTANT
The General notices them - motions for them to sit
down again, indicating he doesn't want attention
called to himself.
5D. PLATFORM - FULL SHOT
The number concludes to applause. Bob holds up his
hand for silence. He removes his beard.
Thanks, fellows. I guess by now you
know the Old Man's being replaced by
a new Commanding General fresh out of
the Pentagon...this divisions's been
awfully lucky so far, but tonight
they're running a special on St.
Christophers at the PX... The Old Man's
heading back to the rear - he's never
moved in that direction in his life.
All I can say is, we owe so much to
General Waverly and the way --
Automatically, Bob stiffens. Phil does the same.
6. AUDIENCE - FULL SHOT
Every man is at attention and every head has turned
to where General Waverly has taken up a position near
the front of the platform.
Captain Wallace, button your shirt.
You're out of uniform!
(Bob, grinning, hastily
buttons his shirt)
This division is now under the command
of General Harold G. Carton, and I
don't want anyone to forget it -- not
that he'll let you. He's tough --
just what this sloppy outfit needs.
You'll be standing inspection night and
day -- you may even learn how to march.
And if you don't give him everything
you got, I may come back and fight for
the enemy. Merry Christmas!
The boys respond with "Merry Christmas".
Well -- I guess that's about it -
uh - uh --
Bob, covering his embarrassment:
Perhaps I can help you out, sir.
He turns to the musicians, gives the downbeat. They
play THE OLD MAN, which is sung by the entire outfit.
The General stands at attention through the first
chorus, visibly moved. During the second chorus he
starts up the aisle, revealing for the first time that
his left leg is bandaged to the knee. The Adjutant puts
out his arm to help. Waverly refuses. Toward the
finish of the song, he turns, faces the men and salutes
them. The men return the salute. (This is not a
military mistake, the General salutes the enlisted men
as a deliberate gesture.) There is a Red Cross ambu-
lance standing by.
6. CLOSE SHOT - (NIGHT) - TINY CANDLE
THE CAMERA PULLS BACK to reveal a hand lighting a candle
on a tiny makeshift Christmas tree. We reveal a number
or enlisted men huddled around the tree in a trench,
including Bob and Phil. One of the men looks at his
wristwatch. Now another does.
7. CLOSE SHOT - WRISTWATCH
The hand is approaching midnight.
8. CLOSE SHOT - SOLDIER
He is looking at his wristwatch.
9. CLOSE SHOT - WRISTWATCH
The second hand is pointing to the hour.
10. FULL SHOT OF SCENE
This is the prearranged signal for Bob to begin
singing WHITE CHRISTMAS. Phil accompanies him on a
harmonica. Toward the end of the song, an enemy
barrage DROWNS out the music. A shell BURSTS in the
11. CLOSE SHOT - BOB AND PHIL
Phil pulls Bob down in time to save him from the
shrapnel burst. This has also pushed Bob's face into
the mud, which he thinks is unnecessary. Phil, ignor-
ing Bob's hostile look, brightly continues with WHITE
CHRISTMAS from where the song left off. Bob finishes
with him, but eyeing him.
12. EXT. SKY - (NIGHT)
CAMERA SHOOTING UP to the sky as brilliant fireworks
explosion lights up the screen. Over scene SUPERIMPOSE:
12-A. INSERT - NEWSPAPER
As CAMERA MOVES FAST INTO headline, we LOSE the fire-
works display and the headline covers the whole screen.
12-B. INSERT - CHURCH TOWERS - (DAY)
Bells are ringing for celebration of V-E Day. CAMERA
MOVES INTO mouth of one bell, blacking out the screen.
13. EXT. BILL POSTER OF FLORIDA SHOW - (NIGHT)
featuring names and pictures of Bob and Phil. CAMERA
MOVES to a CLOSE SHOT of the picture, HOLDS for a
second, then suddenly the picture comes to life and we
are on the stage of the theatre where Bob and Phil are
doing the production number "BELLS".
14. MED. SHOT - INT. THEATRE - AUDIENCE
Perhaps twenty people, photographed at a slant. They're
warm. One woman has a fan, some use programs. They
are enjoying the show, however. There are some vacant
seats apparent. This theatre is a modern travelling
tent show, such as have been playing in Florida in
recent years, and beyond the sides we see palm trees,
characteristic of Florida.
15. FULL SHOT - AUDIENCE
APPLAUDING the conclusion of the number.
16. MED. FULL SHOT - BACKSTAGE
The curtain is down, the boys come off, the curtain
goes up on the next number, which is dancing. Phil
and Bob are met by COOKE, the Company Manager.
RITA, a luscious Latin type, and some of the remaining
chorus girls and other players ad lib, "Couldn't be
cuter!" "Great." "Very funny!"
(To Bob and Phil)
New York's on the telephone.
Bob and Phil, with Cooke, go to the backstage telephone.
(He listens. To
Bob and Cooke)
17. MED. CLOSE SHOT - INT. MANAGER'S OFFICE
This is the business office of Bob and Phil. OSCAR is
their representative and manager, not their employer.
He is sixty and looks competent. He refers to a tele-
gram in his hand. Pictures of the boys adorn the desk,
and Wallace and Davis sheets of previous shows are on
the wall. It must be evident from their billing that
the boys are important stars in New York.
Listen, I just heard what you're doing --
giving the cast a week off with pay for
Christmas. You don't know how touched
I am. I'm all choked up. Between sobs,
I managed to book you on the Ed Harrison
show this week to take up the slack.
It'll be stealing money.
17A. CLOSE SHOT - GROUP
Phil is holding the receiver up to Bob. Oscar's
VOICE can be plainly heard.
We'll have to go to New York --
four days and four nights of re-
hearsals -- that's stealing money?
17B. CLOSE SHOT - OSCAR
As he speaks into the telephone
It is for me -- I get ten percent.
(He listens for a moment)
Next time you guys make a charitable
gesture, find out if you got with
what to make it. See you Wednesday.
He hangs up.
18. GROUP SHOT - PHIL, BOB AND COOKE
Bob hangs up the phone.
Well... while the cast takes it
easy we'll be slaving over a hot
What train do you want? There's
a one-thirty this morning but
you have to sit up all night.
Let's get out tonight.
The boys walk to their dressing room. A group of the
chorines come flying by, toward the dressing rooms,
with squealing. They make quite a picture from the
rear, bouncing and all.
What are we going to do until
We'll eat dinner.
(Looking at the re-
Eat, eat All you think of is
Rita shows up in front of Phil.
You said you had something to
rehearse with me after the show.
What is it?
Phil evidently was trying to hide this from Bob and
is self-conscious at being caught.
It's a kind of new dance number.
(Taking Phil by
He isn't. Some business has
come up. See you in a week.
(He pulls Phil away)
Come on, Romeo, dinner!
Lamb chops, lamb chops!
(Pretending that he is
letting himself be pulled
while he is still anxious
to go in the other direction)
I'm looking at them! We're going
in the wrong direction.
19. MED. SHOT - WATERFRONT INN - BOB AND PHIL - (NIGHT)
The boys are now finishing their dinner. Bob is facing
the orchestra, Phil would have to turn to see it. The
MUSIC plays, the boys eat. The table is close to the
bar. On two stools sit JUDY and BETTY. Betty is wear-
ing her glasses and examining some railroad tickets that
have just been handed her by the bartender. Phil is not
paying attention to his eating, he is entranced with
Judy's pretty legs draped over the bar stool. Bob
cannot see the girls and is not even interested enough
to turn around.
20. MED. CLOSE SHOT - BETTY AND JUDY
On her part, Judy is not absorbed in the tickets, but is
unobtrusively sizing up Phil.
(Checking the tickets)
We'll have to rush to get the
21. CLOSE SHOT - PHIL AND BOB
Bob notices Phil's absorption.
Have you ever considered laying
off the female sex for awhile?
What other kind is there?
(He picks up the card
which announces the per-
formers names and reads)
'The Stewart Sisters.' Sister act!
(He smacks his lips. He
doesn't realize that these
two girls are the Stewart
Down, Rover, down. Remember, we
have an agreement--you chase no new
tidbits during the season. You were
man enough to give me your hand on it.
You were sneaky enough to take it.
22. MED. CLOSE SHOT - BETTY AND JUDY
Betty looks from the tickets and sees that Judy is
covertly eyeing Phil. She leans forward.
(Judy's eyes are toward
Phil. A little louder)
Ahem! All right dear, relax.
He's awful cute.
So was the one in Kansas City,
and the one in Canton, Ohio, and
the one in Waco, Texas.
Canton, Ohio wasn't so much.
One of these days you're going
to meet somebody extra cute and
the next performance I'll be
doing a single.
Nobody'll ever be cute enough
to break up this sister act.
23. MED. SHOT - BOOTH - BOB AND PHIL
Phil is still fingering the card.
I haven't much luck with sister
acts. They're all alike. Shall
I tell you what these two are like?
Four feet two inches tall. Pudgy.
Round races. Have big bows in
their hair. Always smiling.
(He parodies a smile)
Lots of teeth. Sister acts have
more teeth than anybody else.
Two, three hundred teeth at a
time. The American Dental
Association is investigating it.
There is a drum roll from the orchestra. Betty takes
off her glasses and puts them in their case, on the
bar. The bandleader's voice announces:
Ladies and gentleman, the Stewart
The audience applauds politely while the girls start
toward the platform, Phil reacts in surprise to the
23-A. PLATFORM - FULL SHOT
Betty and Judy do their number: "SISTERS". As they
take their bows --
24. MED. SHOT - BOB AND PHIL
Phil pretends to recognize Judy.
Say, Dolores! That's Dolores!
Remember that girl I told you
about who got sick in St. Paul?
That's her! The girl in the
I told you about her! The road
company of "Student Prince." The
whole company went to church and
prayed for her! It was the most
touching thing I've ever seen in
(He gets up.)
I'll bring her over.
He goes, Bob watching, disgusted. NOVELLO, the
owner of the Waterfront Inn, comes up.
25. MED. SHOT - BOB AND NOVELLO
Novello evidently knows Bob.
Didn't you get your dessert yet,
I'm not having any, but I think my
partner's lining up some pastries now.
Sure wish I could afford to book
you boys here.
Call our agent - we've got half
an hour between trains.
Phil enters the shot with Judy and Betty.
Hello, Mister Novello.
Good evening, Mister Davis.
26. MED. SHOT - GROUP
Novello pulls out the table to permit the girls to
Miss Stewart, Mister Wallace.
Miss Stewart, Mister Wallace.
JUDY AND BETTY
How do you do.
How do you do.
Phil gets Betty next to Bob, he sits next to Judy.
See you later, folks.
We saw your show at the matinee,
and we liked it very much.
Thank you, ma'am.
The orchestra has gone into WHITE CHRISTMAS.
Where are you going to be for
We're booked in Vermont.
Vermont? What's there?
Snow. We spent last Christmas in
South Carolina, the year before in
Hawaii. They didn't seem like
Christmases. There ought to be
snow. This one's going to be real
Well, it's the way you've been
raised. If you saw a lot of snow
when you were a kid you miss it
more around Christmas. There's
a lot of snow around St. Paul.
Is that where you come from -
It dawns on him, slowly. He shows no emotion.
No. You come from St. Paul.
I come from Canton, Ohio.
(Just for the record.
I'd like to ask you something.
Were you ever in an oxygen tent?
Oxygen tent? Oh no!
Were you ever in a road company
of "Student Prince?"
Bob looks at Phil. The rules are clear between them.
Bob puts his hand out. Phil takes it. They shake.
What I admire are the details,
the invention, the little lies
all around the big one. It takes
Oh, it's nothing.
Don't say that. Don't belittle
yourself. Credit where credit
is due. You did it fine.
Little game we play.
May I have this dance?
I'd love to.
(Helping her up)
I'm not going to keep calling
you Miss Stewart.
The name is Judy.
What a pretty name!
Nicer than Dolores!
I'm low man. Bob.
(He takes her arm,
indicating Phil and Judy)
Follow that couple.
They move toward the dance floor.
Want to make sure they keep dancing.
Stop worrying. He won't get any
place with her.
I'm positive. I trained her
She's in the ring with the champ,
though. You've heard of Alcoholics
(She nods; he indicates
Women Anonymous. Their biggest case.
Keeps falling off the wagon.
Well, you keep an eye on him, and
I'll keep an eye on her.
Fine. We can make out the probation
The orchestra blends into a vocal chorus of the song.
(To be decided upon.) The vocal is shared by Bob,
Betty, Judy and Phil, individually. Toward the end
of the vocal Phil dances Judy out to the terrace over-
looking the water. This blends into their dance. The
staging of the number should reunite the four principals
by the end of the number. The audience applauds and
they all go back to their booth.
27. MED. CLOSE SHOT - BETTY AND JUDY
They are a half dozen steps ahead of the boys.
They're both very cute, aren't
(Hiding her real interest)
Which one do you like best?
I like them both.
You can't have both. There's
Oh, we'll never meet them again,
what does it matter?
The men are now up to them and help them into the
28. MED. SHOT - BOOTH - GROUP
Bob does not sit.
Judy, you made even him look
You're very flattering, but
he was doing all the leading.
You dance very well together.
If I say it.
Lightest girl I ever saw. Floats
like a bubble. One big bubble.
All right, bubble lover, stand up!
What for? I just sat down.
La train. At one-thirty, and
we have to pack.
You know, choo choo. Goes on
(Train whistle noise)
Can't we go tomorrow?
The train goes tonight.
(Phil looks disconsolately
Say goodbye to the lady bubble,
because we're going to have to
run for it now.
Lady bubble, I have an idea we're
going to meet up again sometime.
We might, we're on the same train.
(Pulling Phil away)
As they start off, Novello enters to the girls, agitated.
The sheriff is here! He's in my
He's got a warrant to arrest you!
Bob has stopped. He looks at Phil, suspiciously.
I thought we watched you every
Phil holds up his hand in "Scout's honor."
Never stopped dancing.
Bob turns back to the table.
(To the girls)
Can we help?
I've never been arrested!
There's nothing to it!
Don't get panicky!
Yes, don't get excited, you still
have to give your show!
He's not going to arrest them until
after the show!
That's considerate! How'd you
I'm a taxpayer here! You better
go in and change, girls! You
haven't much time!
The girls start off, confused. Novello, Bob and
May I enquire what you are being
The owner of the hotel we were
at says we dropped a cigarette
on his rug and burned it.
We couldn't have dropped a
cigarette because we don't smoke.
He wants two hundred dollars,
but it's just plain stealing.
We left the money for our bill in
an envelope on the bed.
Then we dropped the bags out the window
and checked them at the depot.
What are we going to do now?
You have to give another show.
He leaves them, as Bob and Phil look unpleasantly
after him. They have reached the wings.
29. INT. WINGS - MED. SHOT
A STAGEHAND is setting up a record on a record-
playing mechanism backstage, as the group passes by
heading for the dressing rooms.
The old burned rug routine.
Kind of old fashioned, isn't it?
I thought that went out with the
Cherry Sisters. We'll have to do
Got a flash?
A glimmer. Have to stir it around
The girls have opened the door to their dressing room.
We wouldn't want you boys to
get into any trouble.
31. INT. DRESSING ROOM - MED. SHOT
As they all enter.
Why not? Maybe we'll all wind
up in the same cell.
As they close the door,
32. INT. NOVELLO'S OFFICE - MED. SHOT
Novello is with the SHERIFF and the LANDLORD. The
Sheriff is a husky fellow. At the moment he's eating
an eclair and coffee, from Novello's desk. The
Landlord glares at him.
That's the second dessert you've
Real good, too.
I haven't got all night to wait here
while you eat free food! You've got
your warrant, arrest those girls!
Now, we agreed to let them finish
their show first.
I didn't agree!
That was his idea!
I've got some rights, too. You
don't get those girls until after
they've done their number!
Well, how long is it going to take?
Novello puts his hand up, listening.
Wait a minute! That's their
He gets up, opens the office door, and we HEAR
their entrance music, as before, and the Orchestra
Leader's voice, "The Stewart Sisters."
33. MED. SHOT - CAFE FLOOR
Bob and Phil stand with their backs to the audience.
They turn, face front, and we realize they are mouth-
ing to a record.
34. CLOSE SHOT - WINGS - RECORD PLAYER
We identify that the music is coming from this spin-
ning record player we have previously established.
34-A. MED. SHOT - CAFE FLOOR
Bob and Phil do the number.
35. MED. SHOT - AUDIENCE
They APPLAUD at end of number.
36. MED. SHOT - INT. NOVELLO'S OFFICE
We faintly HEAR the applause.
They're clapping! It's over!
The Sheriff gets up.
37. MED. SHOT - CAFE FLOOR
The boys bow themselves off, and run toward their
38. MED. SHOT - CORRIDOR
They hurry down the corridor, passing the office door.
Get out of these clothes! Toot
Ma, unhook my bra!
The office door opens behind them, which they do not
see. The Sheriff steps out, followed by the Landlord
Just a second, folks! I'll handle
(He walks to the
dressing room door)
39. MED. CLOSE SHOT - DRESSING ROOM DOOR
There is a plaque attached to the key in the lock.
The Sheriff smilingly turns the key in the lock.
He puts the key in his pocket.
You stay here. Let them try to
go through the window.
The landlord is delighted.
If they make a break for it,
40. MED SHOT - EXT. CAFE - (NIGHT) - SHERIFF
The Sheriff walks around the corner of the cafe, and
a police car awaits, with cop at the wheel.
Just a minute, Hank, couple of
customers coming up.
The Sheriff continues to the window of our dressing
41. MED.CLOSE SHOT - DRESSING ROOM WINDOW
It opens. The Sheriff watches it. Out comes Phil's
legs, meaning to get out backwards. The Sheriff
applies both hands and pushes back.
Back you go, boys!
He pushes Phil in. Nimbly, he raises himself in.
42. MED. SHOT - INT. DRESSING ROOM
The Sheriff is in the room. He looks coolly at the
boys, who are now in their own clothes. He stares
at them. They stare at him. Recognition comes all
They all throw their arms around each other, pounding
violently. 'No! Wow! You dirty skunk! You grave
Are you the Sheriff here?
You bet I am!
How'd you get in this line of work?
After I got out of the army I sat
down and figured it out! Who never
got in trouble in the army? The M.P.'s!
They were the ones who arrested you!
So I came back here and ran for
A civilian M.P.! If the fellows ever
saw you now! They'd skin you alive!
You ever see any of them?
Whitey Harris and Jack Ross have
a filling station near here!
Jack Ross! Will you ever forget
the party he threw in Naples?
In a captured brewery. Very
sensible, giving a party in a
brewery. Cuts out the middleman.
Do you remember when Danny Beasly
climbed up -
(As he says 'Danny Beasly'
he recalls Danny is dead)
- the tower of the City Hall and
rang the bell by swinging on the
clapper? He couldn't hear anything
for two days.
Danny Beasly! Too bad he didn't
Not everybody was lucky.
We were lucky in one thing -
the old man.
You can say that again. Say I'm
supposed to arrest a couple of
dames! A fellow swore out a
He's a crook! Burned a hole in a
rug and is trying to hold up two
You don't say!
(At his watch)
We got to get our bags and be at
the station in ten minutes! We'll
never make it!
Just a moment!
(He goes to the window)
43. REVERSE ANGLE - POLICE CAR - SHOOTING BY SHERIFF
Hank looks up enquiringly.
Take my friends where they
want to go!
(Going out the window)
44. EXT. WINDOW - POLICE CAR
Hank has thrown the door open.
Do you think we can make it?
This thing goes over a hundred
an hour! Hold on!
He starts with his red lights going, his siren screaming,
and tires grinding.
45. MED. SHOT - INT. DRESSING ROOM
The Sheriff watches them go, pleased. A pounding on
the door recalls the Landlord, and he frowns. He
strides to the door, takes out his key and opens it.
46. MED. SHOT - CORRIDOR
The Landlord and Novello are looking out the window
at the departing police car, the noise having dis-
tracted them from the door pounding. The siren is
still heard, retreating. The Sheriff snaps his
cigarette at their feet. They turn to him, faces
They escaped! We're pursuing 'em!
What do you mean smoking on
That's not mine! I wasn't
What's that burning? A lollypop?
(He grabs him by the
shoulder, not too
gently, and starts
He protests, 'What - !' 'But!' Novello is openmouthed.
47. EXT. STATION - (NIGHT)
The train is already moving as the police car arrives.
The girls are on the observation platform. The police
car screams to a stop. The boys fly out, with bags,
and just make the train, the girls pulling them aboard.
You didn't steal the police car?
No, no. Friend of ours.
They go toward the lounge car.
48. MED. SHOT - INT. LOUNGE CAR - GROUP
They all take seats in the lounge car, happy to have
accomplished their escape.
Well, we'll be together as far
as New York.
Maybe it'll snow in New York for
Christmas. If it doesn't, we'll
mail you a snowball from Vermont.
I haven't been on ice skates in
Ice? You mean the stuff in a
Scotch and soda?
Bob, how about snow for Christmas?
You'll only thaw it out.
Come on, Bob, we could have a
great week up in Vermont.
Bob looks from him to Judy, whose expression is
I see what you mean. But Wednesday
we've got to be back in New York.
All right-- so it's just for a
couple of days. Don't you want
me to enjoy the winter sports?
You enjoy them all year round.
(He looks to Betty)
We won't get in your way, will we?
As long as your friend doesn't try
to take my sister for a sleigh ride.
If he tries it, I'll smash his flexible
It's all set.
The thing I like about you, Bob,
is you're not only kind and
generous, you're handsome.
We're going to have to sit up all
night. Let's get some shut eye.
49. FULL SHOT - EXT. TRAIN - (NIGHT)
The rhythm of the wheels and the engine funnel, under-
50. MED. SHOT - INT. TRAIN
All but Phil are half dozing. One or two other people
are seen in the background, asleep. There is an air
of peace and quiet in the car, as the music under-
scoring continues. Their faces are occasionally
streaked with light flashes emanating from the
surrounding countryside. Phil turns to the side of
the car and sees a bill poster showing a copy of a
winter scene from the Grandma Moses collection,
advertising Vermont. CAMERA PULLS UP
TO scene, the music swells and we DISSOLVE to a
similar landscape in stylized concept. This is
the WINTER FANTASY production number. At the end
of the fantasy we hear the Conductor's voice,
"Pine Tree. Pine Tree, Vermont."
51. MED. SHOT - OUR GROUP - (DAY)
They are bundling themselves up, coat collars tight,
expecting to enter the snow country.
52. REVERSE ANGLE - SCENE THROUGH PLATFORM DOOR
Pine Tree Station, all green, no snow. Four hotel
busses await, one marked 'Columbia Inn Bus.'
53. FULL SHOT - PINE TREE STATION - (GLASS SHOT)
Our foursome is just getting off the train. They
are the only ones. They are looking about,
Are you sure this is the right
This isn't a southern Vermont?
I don't understand it.
There has to be snow! This place
is advertised as America's Snow
Well, if you say so.
(Gesturing to the
Inn bus driver)
Driver, your sleigh and reindeer.
The other three bus drivers are disappointed.
54. FULL SHOT - BUS EN ROUTE
The bus goes by an incongruous skating rink, with
water instead of ice. Signs indicate the direction
of the sun scorched toboggan slide.
55. MED. SHOT - BUS EN ROUTE
The bus winds around another turn in the beautiful
green surroundings and we pass a ski lift and a
ski jumping platform.
56. MED. SHOT - BUS EN ROUTE
Still another turn of the bus, and in the distance
we see a LONG SHOT of the Columbia Inn.
57. MED. SHOT - INT. COLUMBIA INN
MARTHA, a sixty year old spinsterish woman, good of
heart, forbidding exterior, is occupied at the desk.
The door opens and a pretty fifteen year old, SUSAN,
carrying the mail, walks toward her.
She puts the mail on the desk.
(As she shuffles through it)
What's the weather forecast down at
the Post Office?
Awful. Fair and warmer.
If we don't get snow soon we can turn
this hotel into a haunted house. We
haven't had a guest for three weeks.
(As Martha keeps searching
through the mail)
What are you looking for?
(Not finding it)
Your grandfather's written Washington
asking if he can get back in active
service. I think he wants to fly jets.
I think he could do it.
He says older men have been called,
and besides, he misses the food. I
tell you, Susan, he tried to make
it a casual letter, with little
jokes, but it came out just begging.
Through the huge window behind Susan and Martha we
see the figure of a man in overalls, bending over an
incinerator, shovelling the ashes into a wheelbarrow.
His back is to CAMERA.
Oh, Martha! What are we going to do?
(Blowing her nose)
I don't know. Don't let on we know
he's written. He'll start in I'm
only his housekeeper and that I found
out through some chicanery or some-
How did you find out?
Like any housekeeper -- I read the
(She hands the mail
Bring him the mail.
Susan starts out as CAMERA MOVES UP to window. After
a moment, Susan appears and crosses to the man in
overalls. He straightens up, dusts off his hands,
and as he turns to take the letters, we see for the
first time that he is General Waverly. He looks
through them, eagerly, then, downcast, shoves them
in his overalls and goes back to his work.
60. FULL SHOT - EXT. INN - (DAY)
The bus comes to a stop and our principals get out,
Phil staying with the driver for the luggage. The
others enter the inn.
61. MED. SHOT - INT. INN
Martha at the desk, and her eyes widen in surprise.
Welcome to Columbia Inn. How do
How do you do?
What kind of accommodations would
you like? We can give you a
fairly wide choice--any room in
the Inn, including mine.
We're not here as guests. We're
the Stewart sisters.
My friend and I are guests. We've
come down for the snow. Where
are you keeping it?
We take it in during the day!
What are your rates here?
Make us an offer.
(To the girls)
I'm afraid we won't be able to use
you. We'll pay you the half salary
Oh, no! Are things that bad?
We're using the ski-tow to hang the
You're not going to stay either,
(Shaking his head)
I'm afraid not, ma'am.
Through the door comes Waverly, carrying a load of
wood in one arm, and a bucket of coke in the other
hand. Susan follows carrying an armful of kindling.
Bob turns away.
I'll tell Phil to leave the luggage -
(It hits him, he comes
to a stop, and then
General Waverly! Sir!
At ease! How are you, Captain.
I'm fine, sir.
(But he looks around
We just try to keep the General
Begging your pardon, sir.
Well, to put it in one sentence,
people don't expect major generals
to carry firewood.
Through the door comes Phil, fast, talking:
Bob, I was thinking we ought to -
Phil has his arm out indicating the direction of the
door, when he sees Waverly. He freezes. He brings
his hand up to a salute, from that position.
Never thought I'd make it, eh?
....Matter of fact, it's worse than
that. I own this hotel.
He got it in a shrewd business move.
Was everybody in your outfit? We seem
to run into them all over the country.
The Draft Board didn't know when to
If I start the introductions, can I
get to meet these young ladies?
My housekeeper, Miss Martha Allen,
my granddaughter, Susan Waverly.
I'm Bob Wallace-- this is Phil Davis --
We're the Stewart sisters.
Your floor show.
Don't worry-- I've already told them
we'd have to cancel.
Why? We have a floor, haven't we?
Last time I looked. But who are they
going to sing to?
Even if it's only to you and me, it
will be well worth it. Besides, there
will be six inches of snow tonight and
we'll be full up tomorrow.
Is that the weather forecast?
No. But if there was one thing I
learned in the army it was to be
positive -- especially when you don't
know what you're talking about.
You'll excuse me, gentlemen, I'm on
Phil and Bob stiffen automatically.
PHIL AND BOB
(To Betty and Judy)
And you two charming ladies, I want
you to know I'm looking forward to
your show this evening. Whatever
your audience lacks in numbers, it
will make up for in enthusiasm --
(He glares at Martha)
or I'll know the reason why!
He smiles at the girls, and exits, dignified.
Gee...no wonder we won the war!
62. INT. DINING ROOM INN - (NIGHT) - MED. CLOSE SHOT -
BETTY AND JUDY
They are doing the number, SISTERS, on the floor. THE
CAMERA PULLS BACK to reveal the scene. There is a
scant audience distributed at several tables, totalling
not more than fourteen in number. Not far from the
kitchen entrance Bob and Phil are sitting at one table.
Martha is seen doing general overseeing, principally
acting as hostess. Susan doubles between the cashier's
desk and helping out at table.
63. MED. CLOSE SHOT - BOB AND PHIL
They are admiring the performance. Phil indicates
for Bob to look in this direction. Bob does.
64. REVERSE ANGLE - MED. SNOT
The General is seating a table.
65. MED. SHOT - BOB AND PHIL
Bob shakes his head, unhappy at this condition. They
look at each other.
I think well stay a little
longer than we planned.
66. MED. FULL SHOT - BETTY AND JUDY
They finish the number and are applauded enthusiastical-
ly, but the few people in the audience don't make for
much clatter. One set of hands seems to be applauding
loudest and clearest.
67. MED. SHOT - GENERAL WAVERLY
He is the one doing the enthusiastic applauding. He
walks toward the boys, still applauding. They applaud
too. The girls enter the scene, to sit with the boys.
Martha is only applauding politely, until Waverly
glares at her. Then her enthusiasm is boundless.
Excellent. I enjoyed it very much.
It was nice, if you like music.
A waitress brings food, which Martha helps distribute.
(After a look that the
waitress is not in a
position to hear)
Mister Waverly, we'd like to make
you a proposition.
Well, for heaven's sake!
You've been very nice not cancelling,
we'd like to make a gesture. Until
it snows, and you have guests, we'll
take half salary.
That's really nice of you.
(She takes out pencil and
her order book)
Now let's get that in writing.
(Pushing it aside)
Never heard of anything so ridiculous.
Your next performance is tomorrow
night, after dinner. Be here, or I'll
He dignifiedly walks in the direction of some depart-
ing guests, and proceeds to show them to the door.
Light-Horse Harry. Advance, advance,
never retreat! He's advancing right
That's just the way he was in the army.
Always thinking of the other fellow.
We ate and then he ate. We slept, and
then he slept.
Then he woke up, and nobody slept
for the next forty-eight hours.
I happen to know he's sunk his
life's savings into this place.
I read the carbon paper.
Gee, I wish there were something
we could do to help.
Maybe there is.
You got a flash?
A glimmer. Have to stir it around
(To the girls)
tapping his forehead)
Ticking away madly. Wheels within
wheels. This is the brain that, in
darkest Italy, devised a formula to
make food out of K-Ration! Shhhhhh!
As he regards Bob with something akin to awe, we
68. MED. SHOT - INT. LOBBY - (NIGHT)
The last of the supper audience is leaving. We see
into a room which adjoins the reservation desk and
Bob is on the phone.
69. CLOSE SHOT - INT. INN OFFICE
Phil is sitting on the desk while Bob talks.
Relax...I didn't ask you how
much it'll cost us...
(We hear an excited
high voice on the phone)
Easy, easy, remember your blood
pressure...I don't care how much
it'll cost us... That's better...
Have everybody on the train first
thing in the morning. The whole
Troupe, and the scenery, and the
costumes... You'll have to cancel
us off the Ed Harrison Show...
Oscar, remember your blood pressure.
Incidentally, how much will this cost?
(He hears some figure.
It obviously is a very
Good night, Oscar.
(He hangs up)
There you are.
Incidentally, how much will this
(Clears his throat)
We are coming out - even.
You mean flat?
That's the same as even.
Wheels within wheels. It's nice
how you take care of the money for
both of us because you're older and
so level headed. I wonder where I'd
be now if hadn't saved your life?
Do you want me to cancel the
(Getting off the desk)
No, no. Let's go through the
gesture. If you had been on the
Titanic when it went down, you
wouldn't've been satisfied just
to sink into the ocean.
You'd have done a swan dive
into it. With me on your
70. FULL SHOT - COLUMBIA INN FLOOR - (DAY)
The scene is a melee of the excitement accompanying
preparations for the show. The little stage has been
enlarged - the draperies pulled back right and left
and a side wall pushed back a little farther. There
is hammering and painting going on in various parts
of the room. Trunks have been unpacked and wardrobe
hung up in odd places, as more trunks arrive. Girls
in abbreviated rehearsal clothes walk around, do
cartwheels; two people sing at the piano; six girls
kick in unison; altogether, it is quite a contrast
to the bareness of the previous scene.
THE CAMERA TRUCKS through all the activity, taking
in our group at the doorway, which features Bob and
Phil, the girls standing nearby. Martha and Susan
are amazed at the activity.
I can't believe it! You mean you
brought the whole show up here?
When you hired the Stewart sisters
you also hired a New York show. It
was in the small print.
And you can't get out of it. We've
I can't thank you enough, but I
wonder if Gramp'll let you do it?
His pride. When he decides he's
going into bankruptcy he likes to go.
Now just a second. We're not
doing this for him!
Oh no! We're bringing the show
down here to rehearse!
The company's been getting a
little ragged. We'd appreciate
the use of the hall.
Of course we don't expect it free!
We'll pay a little, but not much.
You see, the audience will be
guinea-pigs -- and for us, that's
quite an improvement.
This has not fooled Susan. She throws her arms around
Bob and then Phil.
I don't know what to say!
She cannot refrain from tears of gratitude and turns
and runs out. There is a moment of silence.
I hope this is not an indication
of advancing age, getting kissed
out of gratitude.
You didn't expect a girl that
pretty to kiss you because she
A body keeps hoping.
Betty steps up to him and gives him the biggest smack.
Bob is quite surprised.
That was the nicest thing I ever
saw anybody do.
It was still gratitude.
I'm his partner. I'm entitled to
half the credit.
(Judy steps up to him
and just pecks him on
the cheek, then joins
her sister in rehearsal)
She's not as grateful as her sister.
They look off through the exit and see a moving van
unloading scenery, as the General arrives in his buggy.
He steps down and looks with amazement at the scenery
71. EXT. INN - (DAY) - MED. CLOSE SHOT - WAVERLY, BOB AND
Waverly is looking interestedly at the goings on, but
is puzzled. The boys exchange a glance.
I'm not clear about some of it.
Explain it again.
(Not too good a job)
Well, sir. We have this show, and
we laid off for the holidays. You
see, business was bad.
I know about business being bad.
Yes sir. Well, so we figured as
long as we had the opportunity we'd
do a little rehearsing. Right here.
(There is a hint here of
Phil looks to Bob for help as they move toward the lobby.
The troupe is busy transporting the costumes, etc.,
from the moving van to the dining room auditorium as
the above scene is played.
Well, sir, this nice empty room.
The minute we looked at it we said
it was ideal. Didn't we?
That's what we said. Ideal.
And then we'll have an audience to
play to. You see, sir, you need an
audience on which to try out your
Where are you going to get the
Oh, what guests there are in the
other hotels. They're pretty bored
here without snow, and a New York
show's kind of a novelty in Vermont.
I would think so.
How will they know you're here?
Oh, word gets around.
Yes sir, and we also took the girls
twice around the town for a little
run. They were stiff from the train.
In their practice clothes.
Makes the blood circulate,
(Hers no dope)
Hmm. Whose blood?
BOB AND PHIL
Apparently there must be a lot about
show business I don't understand.
It'll come to you, sir.
It just takes time.
We wouldn't be any good as generals.
You weren't any good as privates!
(Pointing to Bob)
He was an officer, sir.
Only to confuse the enemy.
He turns away and goes to his quarters.
72. MED. SHOT - INT. INN FLOOR - (DAY)
The company is rehearsing as Bob and Phil enter.
That's all for today, kids.
People break off what they were doing and begin to
drift out. Bob and Phil have gone toward Betty and
Get a little rest before
I'll walk you over.
(He takes a sheet of music
out of his inside pocket)
Look this over, I want to try
See you later.
The girls go. Phil goes toward the piano, Bob goes
toward Martha, who is on the phone, accepting reser-
74. FULL SHOT - ROOM
Bob takes Martha by the arm and seats her in the middle
of the room as an audience of one. Phil looks up from
the piano, puzzled. The sunset is visible through the
window and there is a mood of quiet.
That's the idea. Want you to hear
a song I just wrote.
If it's a love song, don't get
It isn't. Just tell me how you think
the Old Man would feel about this one.
He leaves her and goes to the piano and they do
WHAT CAN YOU DO WITH A GENERAL, solely for Martha.
Toward the end of the song --
75. MED. CLOSE SHOT - GENERAL WAVERLY
Unseen by the others he is standing by the door
listening to the song.
76. MED. SHOT - INT. ROOM
The boys finish the number. Martha applauds and Bob bows.
I think it's just wonderful --
77. CLOSE SHOT - SUSAN - AT KITCHEN DOOR
She is standing there, drying her eyes with her apron.
I think so, too.
78. CLOSE SHOT - WAVERLY - AT THE DOOR
I'm afraid I disagree. The song
is funny, but there is one thing
wrong with it.
What's that, sir?
It's true. I'd rather you didn't.
79. FULL SHOT - INT. INN FLOOR
Bob and Phil exchange a quick glance.
BOB AND PHIL
The General turns and exits toward the lobby, THE
CAMERA PANS with him, a lonely figure walking through
the lobby, the CAMERA STOPPING on a poster advertising
80. FULL SHOT - INT. INN FLOOR - (NIGHT)
It is fairly-well filled. Bob, Phil, Betty, Judy and
the ensemble are performing a NUMBER which is a
MINSTREL SHOW routine done to lyrics and music. Bob
and Phil are end men, Betty is interlocutor, and Judy
is later introduced as Mandy. This takes Judy and
Phil into a dance to the song MANDY. This entire
number is done in white-face with stylized costumes
and set. During the applause and bows, we CUT TO:
81. MED. SHOT - WAVERLY TABLE
Waverly, flanked by Susan and Martha, is at a large
table. The other occupants are local hotel owners
and their wives.
Great show, Waverly.
We needed something like this.
I had six checkouts, and when they
heard about this they decided to
Glad to help.
Martha and Susan beam; all is well.
82. FULL SHOT - INT. INN FLOOR - (NIGHT)
It is empty and most of the lights are out. At a
considerable distance from CAMERA Martha extinguishes
the last light, except for a small work light which
is servicing Bob, who is fingering the piano keys and
writing music notes, hard at work.
83. FULL SHOT - GIRLS' BUNGALOW
In the background we see the boys' bungalow.
84. MED. SHOT - INT. GIRLS' BUNGALOW
Betty and Judy are in twin beds, the light is coming
in from the moon. The girls are seen in profile.
The moon! I can't get over the
moon up here. The size of it!
(In a quiet mood)
Same one they have all over.
They'll never prove it to me.
And everything smells so beautiful.
What is it - pine or fir?
We're near the bakery.
(Friendly, not realizing
You know your trouble, Betty?
You're not romantic.
Betty turns and looks toward her. Since Judy does
not see her, Betty's expression is a true reflection
of how she feels.
Everything's so wonderful here, so
pretty, so exciting, I can't under-
stand how you stay frozen up. Let
yourself go, go, like me!
(Afraid to ask)
Which one is it?
What do you mean?
Bob or Phil?
You mean both.
It's the same. No one is going
to break up our act.
Isn't there one you prefer over
The way Phil dances, and he's funny.
It's easy to see yourself married to him.
He's different, deeper, and he's
funny, too. It'd be nice to be
married to both of them.
Good thing they're not a quartette.
If I was Catherine the Great, that's
what I'd do. Phil in the daytime,
Bob at night. Or should it be the
other way around?
85. CLOSE SHOT - JUDY AND BETTY
SHOOTING PAST Betty. Is it possible our Betty has
a suspicion of a tear?
Phil'd be more fun in a night club,
but eventually a girl wants a pipe
and slipper fellow. That's Bob,
smoking a pipe and petting a cocker
spaniel. Still, Phil could learn to
smoke a pipe. Breaking a fellow in
to suit you is something every girl
should go through. I hear it's half
the fun. Which one do you like better?
Are you asleep?
(No answer. Judy turns
over and closes her eyes)
Music has underscored this scene. Betty is wide awake.
She is looking toward the window. As the curtains
billow outward we see a diffused figure of Bob, sitting
on a fence, putting out his pipe. This is followed by
an equally diffused figure of Betty, leaving her bed,
crossing the furniture, and joining Bob. Bob takes her
in his arms. At this point we are brought back to
reality by the wind slamming a shutter. This causes
the diffusion to vanish, and Betty gets out of bed and
puts on her robe.
86. INT. INN KITCHEN - MED. SHOT - (NIGHT)
We PAN Betty to the refrigerator door, which she opens.
Tuna fish, on the lower shelf.
Betty whirls around.
87. MED. SHOT - BETTY AND BOB
We see Bob is having a snack of his own.
What are you doing? Sleep-walking?
I couldn't sleep.
Little young for that, aren't you?
He gets up and goes to the refrigerator. His preoccu-
pation with the food will permit Betty's expression to
be more obvious than her lines, which are spoken to
tell the audience of her regard for Bob, since their
significance must escape him.
What shall I make you?
If you tell me what you want to
dream about I'll know what to
Different foods make for different
dreams. I've got a whole theory
about it. It's called "The Wallace
Way of Wishful Wooing." You'll find
it in the American Medical Journal
under 'W'. Ham and Swiss cheese, for
instance, you get a cool, thin, blonde
girl. Turkey sandwich, you get a dark
sort of stumpy girl, sexy though. Now
a liverwurst sandwich -
(He shakes his head)
you get both girls at once. Bad night.
What do you dream on tuna?
Darndest thing, I dream about me.
Then I'll have a tuna sandwich.
Bob doesn't get the significance of what she has said,
Now that's very flattering. Tuna
(He is occupied at the
frigidaire while she
watches him yearningly)
Let me make you some warm milk.
That'll help the insomnia,
No it won't.
(Looking straight at
Warm milk won't do it.
Whatever you've got on your mind
isn't worth staying awake for.
I think it is.
He smiles at her, oblivious to the meaning behind her
Would you like to know how I handle
a situation like that....?
Tell me, Doctor..
Bob begins to sing COUNT YOUR BLESSINGS, as he prepares
the warm milk and hands it to her. She drinks it
down. As he reaches the second chorus, he starts to
dim the lamp on the table, Betty, pretending to be
sleepy, leans her head toward Bob. He takes a pillow
from a nearby chair and puts it between her head and
her chair. She waits, eyes closed, expectantly. But
Bob gets to his feet, and carefully tiptoes to the
door and exits, closing it softly behind him. After
a moment, Betty snaps on the light, throws the pillow
on the floor, and rests her chin in her hand, dis-
appointed and wide awake.
88. LONG SHOT - INT. INN FLOOR - (DAY)
Various members of the company are in rehearsal clothes
and sitting around the room. The orchestra is playing
the introduction to Phil's number, which will employ
a line of six girls who are just coming on the floor.
Bob is on stage supervising the rehearsal. Judy is
standing across from the piano. Betty is seated on
the sidelines with her legs stretched over two chairs.
She is knitting a loud colored argyle sock. Phil,
standing close by, has just finished rolling up a ball
of yarn. He looks at Betty's knitting, then at his
Don't make them too tight. I
wear size 12.
All right kids! Places! Let's
get going! Phil, you're on!
Bob crosses to his stage manager station, which is
a desk and high chair, where Albert is seated, not
far from his wife, Sylvia, who is sipping a glass
of water. Albert holds a stop watch and evidently
helps in the administration.
How long are we so far?
An hour and ten minutes.
Something has to come out.
From his position, Phil, in a series of leaps and
turns, reaches center floor and begins his solo.
89. CLOSE SHOT - BETTY
She continues knitting while watching Phil dancing.
As Phil comes to a portion where he speeds up his
steps she unconsciously speeds up her knitting,
Bob has seen her, and he looks from her knitting
and her look of admiration, which he mistakes for
affection, and then looks from the socks to Phil's
feet. At the end of the number, which is applauded
by the witnesses, Judy runs to Phil and hugs and
kisses him, THE CAMERA STAYING at this distance.
Bob, looking at Betty, mistakenly sees her disappoint-
All right, places for the next
(He turns to Sylvia)
You're next, Sylvia.
(Sylvia and Albert
glances, Bob senses
What's the trouble?
Mr. Wallace -
(He is embarrassed
to go on)
Come on, out with it.
I don't think Sylvia ought to
go on, unless you cut out the
high kicks and let her do some
easy waltzes. Very easy waltzes.
Bob looks from one to the other and their smiling shy-
ness indicates pregnancy.
We don't want anyone else to know.
Please don't mention it.
(The orchestra starts to
play ROCKABYE BABY.
Sylvia and Albert are
For heaven's sake!
How did they know?
The girls start crowding around.
You wouldn't tell us, would
you? We had to find out
(Phil and Judy are
among the group)
There will be a celebration
of the forthcoming event to-
night after the show!
90. MED. SHOT - BOB, PHIL AND ALBERT
Phil puts his arm around Albert.
Obviously you're going to
call the boy after me!
After you? I hired Sylvia!
The baby'll be named after me!
I've been dancing with her!
That's more important! The
baby'll be named after me!
The hiring was more important!
The dancing was more important!
I'm her husband.
The baby'll be named after me.
Well, we're going to need
How about Judy, she knows all
the routines, she could pick
it up in no time.
They walk to the table where the coffee is, and the
group now includes Betty.
On the other hand, it's all right
if we lose a number, we're running
too long now. We have to cut
Wouldn't it be better if you cut
my solo number? I've never
felt right in it anyway.
The show needs every bit of his
(Interpreting this as
mere selflessness for
There you are - painless.
She turns away rather abruptly, since she is becoming
emotional. Bob shakes his head, impressed with what
he thinks is her devotion.
91. MED. CLOSE TWO SHOT - BOB AND PHIL
Bob dunks a doughnut into his coffee as he looks after
Betty. He looks at Phil and shakes his head.
Greater love hath no woman than
to give up a solo number. Old
(All this is beyond him)
What are you talking about?
Drink your coffee.
92. FULL SHOT - WAVERLY QUARTERS - (NIGHT)
This is the party later that evening. Some people are
dancing. Others are grouped about, and there is a
general home party atmosphere. The General, Martha
and Susan are seen helping everyone to feel at home.
The CAMERA STARTS ON A LONG SHOT and DOLLIES THROUGH
THE GROUP, passing Sylvia, where ad lib comments about
the impending baby are sketchily HEARD. The CAMERA
CONTINUES toward the piano, where Bob and Betty are
examining the music sheet of A MAN CHASES A GIRL.
Betty looks up and the CAMERA FOLLOWS her look to Phil,
who is dancing with Rita. Rita nestles up close to
Phil. This is seen by Bob and Betty. Bob smiles.
93. CLOSE SHOT - PHIL AND RITA
On closer view, we can see that Rita is the aggressor.
(Referring to the grip)
Don't you want me to breathe?
What's gotten into you?
You were chasing me in Florida.
And you were running. What made
You're interested in Judy, aren't
That's it, eh? Unless it belongs
to someone else, a girl doesn't -
(Evidently Rita has
on his instep)
94. SCENE FROM BOB'S VIEWPOINT
Betty is walking over to the dancing couple and de-
liberately cuts in on Rita, who is displeased, but
can do nothing but yield. Bob's reaction still
implies that this is understandable since Betty
loves Phil. He turns back toward the piano, and
other couples are between him and Betty and Phil.
Still at the same camera distance, we see Betty
turning Phil over to Judy.
95. CLOSE SHOT - PHIL AND JUDY
Judy is a little cool.
What's the matter?
Nothing is the matter.
This isn't the way you dance.
Some people dance closer than others.
Phil is delighted that she is jealous.
Yes, that's true. I'm one of the
close ones. That's my type.
He holds her closely, by force, dancing, smiling and
pleased with himself.
96. MED. FULL SHOT - ROOM
The dance music stops. The people disperse.
97. MED. CLOSE SHOT - AT PIANO
Harry, the piano player, is playing the last half of
A MAN CHASES A GIRL. Bob and Betty are leaning over
the piano, Bob humming the melody. Betty pantomimes
to the others to quiet down. Bob starts to sing the
lyric. In the second chorus, he is joined in the
singing by Betty. During this chorus we CUT TO show
various reactions of the group, and end on Phil,
sitting close to Judy, holding her hand.
98. CLOSE TWO SHOT - PHIL AND JUDY
We HEAR Bob and Betty, off scene, continuing to the
end of the second chorus, on which Phil, sotto voce,
sings the last four bars.
(Singing; looking at Judy)
And once you've caught him
Don't ever let him go.
APPLAUSE follows the song. Phil gets up.
Ladies and gentlemen, I would
like to make an announcement.
99. FULL SHOT - CROWD
Everyone quiets, waiting to hear the announcement.
It is my pleasure to identify
the man who has been doing the
chasing. I am him! - Or he! -
Or it! Anyway, Judy has caught
me. What I'm trying to say is,
He looks fondly at Judy, taking it for granted she
is overwhelmed at this method of announcing to her
that he is going to marry her. He hugs her amidst a
general reaction of congratulations.
100. MED. SHOT - BOB
He is flabbergasted.
101. MED. SHOT - GROUP
Phil and Judy are separated by the congratulators.
Betty, hiding her emotion, grips Phil's arm.
I hope you realize that you're
getting he most wonderful girl
in the world.
Bob sees her emotion through the speech. Betty
notices Judy upset, shaking off the people around
her and running through the doorway to the kitchen.
Betty makes her way through the crowd to follow her,
as the orchestra goes into HER COMES THE BRIDE.
102. MED. SHOT - INT. KITCHEN
Judy is crying into her hands as Betty enters.
Darling, don't cry.
(Turning to her)
I didn't know he was going to
make that announcement, I swear
Betty puts one arm around her.
I know you didn't.
He had no right to do that.
You do love him, don't you?
That doesn't matter.
Nothing else matters.
We're not going to break up our act.
Phil enters the kitchen.
I've been looking for you, Judy.
She goes through the corridor toward the living room.
103. MED. CLOSE SHOT - CORRIDOR OFF BUTLER'S PANTRY
In the background we see the General in the butler's
pantry getting some drinks for the guests. He is not
seen by Betty who stops at the mirror in the corridor
to wipe away a few tears. Bob comes into view in the
mirror, entering the corridor from the living room.
Don't take this too much to
heart. Phil is a great kid
but constancy isn't his long
I'm not the least bit worried.
(Phil and Judy enter
from the kitchen)
Frankly, this couldn't come at
a better time. They want me to
come back to The Carousel
again - I used to sing there
before Judy and I teamed up -
and I had to turn it down
because they can only use a
(Not too well)
So - this couldn't be more
convenient. You stay with the
show and I'll go back to The
When did you get this offer?
Just today, as a matter of fact.
I got a telegram.
Why didn't you mention it before?
I didn't want to hurt your feelings.
Where is the telegram?
I threw it away. What is this, a
third degree? You don't think I
made it up?
Yes, I do.
There is a pause, and Waverly, who has been watching
each one, speaks.
Well now, I wouldn't bet any large
sum of money on that, since I took
the message over the telephone, and
I had to deliver the telegram.
(To take the tension off)
And she didn't tip me, either.
Betty looks at him gratefully.
(She throws her arms
I'm sorry! I misunderstood!
Now, baby! It's all right!
Well, everything's fine now!
Happy, he beams at Judy.
104. MED. CLOSE SHOT - BOB AND WAVERLY
Something bothers Bob about this story. He looks
searchingly at Betty, puzzled. He does not notice
Waverly, who watches him watching Betty.
SLOW DISSOLVE TO:
105. LONG SHOT - RAILROAD STATION - DAY
Train about to leave. The General is in the foreground
sitting in the buggy. Betty is saying goodbye to him.
Bob and the porter are taking care of her luggage.
(Shouting over noise
Where are you going to be?
The General looks at her, questioningly.
(Whispering, during a
lull in the noise)
I sent them a telegram this morning.
The General smiles; Betty waves a farewell to him and
crosses to the train, starting up the steps. The
notion behind this scene is to be able to hear only
intermittent dialogue due to the whistle, bells, and
escaping steam. The manner of playing, though,
indicates the sentiment. To emphasize it: Bob is
fonder of Betty than he realizes, and Betty fully
realizes how fond she is of him but that he does not
return, consciously, her affection. We hear Betty:
Take care of my little sister.
She can take care of herself.
Worry about the menfolk. Now
don't forget to write.
I'll send you picture postcards.
Not all of this is heard, since the sound effects
pick their spots, but the attention is on the
General, who is watching the scene with a whimsical
look. He, as does the audience, realizes Bob's true
feelings. As the train starts to leave, Betty and
Bob shake hands. She holds his handshake a little
longer than necessary, and Bob is forced to move
along with the train. Finally she releases him,
and Bob looks after the train, puzzled.
106. REVERSE ANGLE
THE CAMERA is now on the train platform, Bob out of
sight. Betty wipes away a tear. In the background
we see the General in the buggy noticing this.
107. MED. LONG SHOT - TRAIN IN DISTANCE
Bob is in the foreground, the General in the back-
ground. Bob joins the General at the buggy. From
Waverly's expression we can see that he has decided
on a plan of action.
Must be interesting to be a woman.
The idea's never occurred to me,
Well, think about it.
(Bob is thinking about it)
A man like you must be an
expert on women.
It's a little immodest to say so,
but I consider myself an authority
on the fair sex, I've made a study
of the subject. They're simple
They couldn't fool you?
'Pride goeth before a fall.'
'Who knows his own strength is
It's always a pleasure to meet
an expert in any field. Tell me,
why do you think Betty went to
(Not willing to admit it)
She has a job in The Carousel.
Expert, you're wrong! She went
to New York because she's so in
love with someone here she just
couldn't stand it.
(A mixture of resent-
ment and frustration)
I'm darned if I can figure out
I thought you were an expert on
(To the horse)
Come on, Delilah!
108. CLOSE SHOT - CHRISTMAS TREE ANGEL - DAY
THE CAMERA PANS DOWN from the ceiling and we see
that THE INN is being decorated for Christmas Eve.
Everybody is so engaged, except those actively
helping Phil and Judy rehearse. The attitude is
slightly cool on Judy's part, but it is lover's
(Fitting the action)
(During the dancing)
Now the same as the middle part.
They make a nice couple, with his arm around her
waist, dancing as one.
109. REVERSE ANGLE - BOB
He enters the room, and watches. He looks intently
at Phil. Phil and Judy dance closer to Bob. They
see him. They continue dancing, talking as they do.
Betty get off all right?
Betty left something for you.
She said to give it to you after
she left. It's on the piano.
Bob hears, nods, but keeps staring at Phil. Phil
becomes conscious of the staring.
What's the matter?
I don't get it.
Don't get what?
I just don't see it. You' re
skinny, you got a big nose, and
Yes, you! Nothing personal though.
No, of course not.
I'm just trying to figure out
what anyone sees in you.
Well, stop worrying about it.
When I ask you for a date just
turn me down. Come on, Judy.
They dance away. Bob crosses to the piano and picks
up the package Betty left for him. He opens it up
and it is a single knitted sock, the one she knitted
on previously. He looks through the box for its mate.
There is none. The CAMERA MOVES CLOSER to Bob, puzzled.
110. CLOSE SHOT - BLACKBOARD - (DAY)
Painted at the top is the legend:
At the moment a hand is completing, in chalk:
After a moment, the hand returns and draws two lines
through the "S" so that it now reads,
CAMERA PULLS BACK to reveal we are on:
111. EXT. PINE TREE POST OFFICE - FULL SHOT
Bob comes out of the Post Office and mounts a bicycle.
He cycles down the street, whistling A MAN CHASES
112. SECTION OF VILLAGE - HORSESHOE PITCHING GROUNDS -
MED. SHOT - (DAY)
There is a group of elderly men, among them the hotel
owners, pitching horseshoes. Waverly is sitting on a
bench, ruefully looking at the sign.
FIRST HOTEL OWNER
(Starting a new game)
How about it, Waverly, want to play?
(Looking at him a moment)
I'm too young for that sort of thing.
First Owner laughs goodnaturedly and continues playing.
Bob rides into the scene and dismounts.
113. MED. SHOT - BOB AND WAVERLY
Bob sits into the shot.
Kind of warm for that kind of
exercise, isn't it?
(Trying to help)
It isn't very warm.
(He looks to the sky)
I think the weatherman's wrong
about his forecast. Those look
like snow clouds to me.
(Without looking up)
They're cumulus clouds, at an
elevation of seven thousand feet.
Still, weather's a funny thing.
It could snow - overnight.
(He thinks a moment)
I'll tell you something I haven't
told my family. I'm going back
in the Army.
Really, sir? That's great news!
Yes. I miss the Army.
Where are you going to be sent,
Well, I'm not sure yet. I've
always been a combat officer,
but I got an idea they're going
to try and palm off one of the
training commands on me. They'd
better not. They just better not.
(He's worked up now)
I'm not ready for pitching horse-
Now nothing to the women folk
Let's mosey over to the post office,
I'm expecting a letter any day.
Oh, I beg your pardon, sir.
(He pulls the letter
out of his pocket)
That's what I came over to give
you, it slipped my mind.
The General takes the letter, he looks at it front
This is the one.
(He opens it, He squints.
He looks to Bob)
My glasses are in my room. I'd
like to read it by myself, but
I'm a little anxious.
(He smiles at his own
Read it, son. Slowly.
Why, you dirty, old -
Skip that word.
It certainly was a surprise hearing
from you. Your amusing letter was
appreciated more than you imagine.
Of course you've got plenty of time
to be amusing, sitting on that porch,
rocking away, while we put in a full
day's work. You always were a lucky
stiff, and I envy you. A few years
more, I was saying to Emmy the other
evening, and I'm going to be able to
take it easy like old Tom.
Oh, well, some people have all the
luck. Everyone in the family is fine
here. Carol had the mumps, which is
no joke at eleven years of age -
The rest of the letter is about the
(Bob looks at him, and
then glances at the
rest to see if it is so)
He's telling me they have nothing for
me, we're not fooling each other.
(He holds has hand out)
(Bob gives him his letter.
There is a pause. An
attempt at being light)
Say, it couldn't be hard to learn
to pitch horseshoes. Now could it?
(Trapped, unhappy for him)
(His nerve up)
Begging your pardon, sir, there's a
lot to be said for leisure. You're
not used to it, you've always been
active, but in time -
He stops, seeing Waverly's expression. Waverly winks
Never kid a kidder. Go on back
to the hotel.
Waverly gets up to join the horseshoe players after
all. Bob watches this reflectively as we
114. MED. SHOT - (DAY) - INT. HOTEL ROOM - BOB AND PHIL
Bob is packing his valise, Phil helping him.
Judy thinks my eyes are soulful.
Do you think my eyes are soulful?
One of them is.
You have no poetry in you. It's
about time you went in for girls,
too. After all, you haven't many
years left for that sort of thing.
Bob, his back turned to Phil, comes across the sock
Betty knitted for him; he hastily shoves it into the
bottom of has bag.
I'm the quiet type. Little do you
know what's aged me.
Wheels within wheels, eh? Well,
live it up, Pops. Eat, drink and
be merry -- is that why you're
leaving for New York?
I told you what I'm seein' Ed Harrison
about. That's all.
Business, business. Glad to be rid
of you. You're not in the girly mood.
(Easily annoyed at the
What do you know about girls? You
wouldn't know what to do with a girl
if she fell on you!
Well, I'd know enough not to get up.
There is a KNOCK at the door and Martha sticks her
Mr. Wallace -- gonna miss your
For her I'd get up.
As Bob slams his suitcase shut,
114A. EXT. CAROUSEL CLUB - MED. CLOSE - (DAY)
A poster outside advertises the appearance of Betty
Stewart. MUSIC is heard emanating from the club.
DISSOLVE THROUGH TO:
115. INT. CAROUSEL CLUB - MED. SHOT - (DAY)
A rehearsal is in progress in the deserted club. The
chairs are up on the tables, musicians in their shirt
sleeves, as Betty SINGS a chorus of LOVE, YOU DIDN'T
DO RIGHT BY ME. As she finishes, the orchestra LEADER
turns to her.
Betty - You really live that number.
The story of my life.
Shall we try it over again?
I wish I could.
116. INT. CAROUSEL CLUB - MED. SHOT - (NIGHT)
It is alive with customers; couples are dancing on the
floor, as a number ends. Bob enters, and is conducted
to a ringside table by a maitre d'.
I'm expecting Ed Harrison.
Very well, Mr. Wallace.
116A. STAGE - MED. CLOSE
Betty is standing at the microphone ready to sing.
She sees Bob. The Leader raises his baton.
(Stopping him, sotto)
Let's not do the new number.
Play "Blue Skies" -- anything.
Relax. Just do it the way you
sang it this afternoon --
you'll be great.
He gives the downbeat, and Betty has no choice but to
sing LOVE, YOU DIDN'T DO RIGHT BY ME. She is assisted
in the second chorus by a vocal group.
117. CLUB - MED. SHOT
as Bob watches her. When she finishes the number,
Betty steps down from the platform and joins Bob.
(As Bob holds the chair)
Well, surprise. What brought
you to the big city? And don't
say 'a train.'
hiding her tension)
I never heard you sing that
well. That's a good number
(Her own significance)
Some numbers suit you better
than others. What are you
Business, business. Meeting
a fellow here.
Judy all right?
She's fine. Couldn't be better.
Playing footsie with Phil.
I think they like each other.
I do, too.
They're kind of suited, in
a lot of ways.
Some people are.
Thanks for the knitted sock.
Don't mention it.
I thought it was for Phil.
If the sock fits, wear it.
(Unsure of her meaning)
It started out for Phil.
It just started out as a sock.
Every line of the sock exchange should have the mean-
ing of the love implications.
You're a very odd girl.
You're a very odd fellow.
Bob is close to declaring himself, if he was only
sure of his ground.
Two feet, one sock. I must be.
I'll get around to the other
You mean to do any knitting in
the near future?
The feeling comes and goes.
Think if the model hung around
for a while... the feeling might
be more permanent?
Bob leans over and takes her hand.
What's this maybe, shmaybe,
comes and goes? Friends tell
me I don't have many years left
for this sort of thing...
I ought to know right now if --
He is interrupted by ED HARRISON, who has been brought
to the table by the maitre d'.
Bob! How are you?
(He knows Betty)
She nods, as Ed sits down.
Now what's this big deal you wanted
to discuss? I shouldn't even talk to
you after cancelling out on my show.
Ed, I saw the old man.
Waverly? Where, in the Pentagon?
Pentagon, nothing. He owns a little
hotel in a winter resort in Vermont.
Our old man?
Nobody even knows who he is.
He's too proud to let them know he's
Ed looks at her, surprised.
(To Bob, indicating Betty)
Was she in our outfit, too?
What are we going to do about it?
You got a flash?
Got to stir it around a little?
All stirred. Remember how Old
Flintbottom always used to find
a way to keep our morale up...
without telling us? It's about
time we returned the favor. Let's
surprise him with a real big bang-up
Now you're talking! How do we
spread the word?
Bob takes a piece of paper out of his inside pocket
and hands it to Ed.
You're gonna read this little
speech on your television show.
People look at it, don't they?
(Scanning the paper)
Now's as good a time as any to find
As he continues to read the piece of paper, we
118. MED. CLOSE SHOT - INT. COLUMBIA INN LOBBY - PHIL
IN PHONE BOOTH - (NIGHT)
Phil is excited.
Bob, just leave it to me! He
won't get near a set if I have to
break a leg...Goodbye, Bob!
He opens the door of the booth and hurries across the
lobby toward Susan, who is at the desk, and BANGS on
the bell, which is on the counter. Martha comes run-
ning from the kitchen.
Now everybody pay close attention.
119. MED. CLOSE SHOT - INT. TELEVISION STATION - (NIGHT)
Ed is about to go on the air. Bob is opposite him,
out of camera range, The technical crew are watching
the hand of the dial approaching 60.
I hope Phil has been able to keep
the old man away from a television
He has. In anything involving some-
thing crooked he's dependable.
120. MED. CLOSE SHOT - INT. LOBBY COLUMBIA INN
Seated around the television set are Waverly, Martha
and Susan. Martha and Susan look at their watches
and each other, nervously. Waverly also looks at his
Ed Harrison will be on in a half
minute. I like him. I never miss
The women are becoming very nervous. Suddenly we HEAR
off scene the most tremendous clatter dorm the stair-
way and Phil's shouting.
Ow! Ow! Ow!
He runs toward the stairs. Martha and Susan breathe
a sigh of relief and follow Waverly.
121. MED. CLOSE SHOT - STAIRS
Waverly runs to the tangled Phil.
My leg is broken! Ow, ow!
Take it easy, boy.
(He starts feeling his leg)
Ow! Ow! It's broken!
No it isn't! You may have a bad
sprain, but no bones are busted!
It's broken, sir. I can feel it.
Let me help you.
122. MED. CLOSE SHOT - INT. TELEVISION STATION
The technician indicates for Ed Harrison to start as
the second hand hits straight up.
I would like to address all former
officers, enlisted men, Wacs and
nurses who were under the command
of General Tom Waverly --
123. MED. SHOT - INT. COLUMBIA INN OUTSIDE WAVERLY'S OFFICE
Waverly and Martha are helping Phil through the door.
Ow! Ow! It's broken in two or
That's just the impression you
have! I tell you it's only shock!
THE CAMERA FOLLOWS THEM into the office as they lay
him out on the couch.
(Laying him out)
Take it easy, boy!
Don't leave me! Everything is
going round and round!
Nobody's leaving you! Martha,
get me a cold towel!
124. MED. CLOSE SHOT - INT. TELEVISION STATION
The objective is Pine Tree,
Vermont --- Synchronize watches
for Operation Waverly...
125. MED. SHOT - INT. OFFICE
Phil has his eyes closed.
Things still going around?
Now they're going sideways!
Waverly takes the wet towel from Martha.
Now they're going in and out!
Waverly slaps the towel on his face.
This'll bring him out of it.
Where am I?
He's all right.
Judy bursts into the room.
Phil, what's happened to you?
Phil assumes a pain-stricken face again and Judy
throws her arms around him. Phil smiles over her
shoulder at Waverly.
126. FULL SHOT - NIGHT - COUNTRY ROAD
Silhouette of busses, Station in background, if
127. MED. FULL SHOT - FORK IN ROAD
Two men, with M.P. armbands, slow up the busses. One
is revealed to be Phil.
All quiet, folks! Entering the
The Old Man's asleep! Let's keep
him that way!
The busses move on.
128. MED. SHOT - NIGHT - INT. LOBBY
Bob and Betty tiptoe through the entrance to the
inn. In the semidarkness of the lobby we hear a
"sst - ", and Susan and Martha are revealed having
been waiting for them.
We've been waiting for you.
How is everything going?
They are bedded down in all
Martha blows her nose.
His old outfit... If I wasn't
such a mean old biddy, I'd
probably break right down and cry.
There's nothing to cry about,
He looks to Susan and she begins to bawl.
(Through the crying)
Thank you so much.
Bob looks to Betty for support.
Can't you do something?
They're just affected by the gesture.
She can't hold it back either, and now the three
women are crying.
(Through her tears)
Where are Judy and Phil?
Probably in their rooms, crying.
They start out.
129. MED. SHOT - EXT. BUNGALOW - NIGHT
As Bob and Betty turn around the corner, they see
Phil and Judy, locked in an embrace. Bob has been
in front, but he steps back quickly, not wanting to
embarrass the lovers.
Who is it? General Waverly?
We can't just stand here. We
have to get some sleep.
She walks into sight, Bob following. Phil and Judy
We were rehearsing for the show
Is it going to be that kind of
a show? We'll be raided!
What are you doing here? What
happened at The Carousel?
I'm helping out here tomorrow.
Hi, Bob. Everything's under
I mean with the show. We've got
a lot of new material. You both
are going to have to do a lot of
I mean the other kind of rehearsing -
I mean - rehearsing Well, good
And he holds his hand out, and they shake hands,
Good night, Phil. Good night, Bob.
Flustered, the boys open the door to the girls' bunga-
low, thinking it is their own.
Let's get out of here before the
They all laugh. The girls enter their bungalow and
put on the light. The boys head toward their
bungalow. Phil eaters in a gay mood. Bob stops at
the door, turns around and looks toward the window
of the girls' bungalow.
130. MED. SHOT - INT. GIRLS' BUNGALOW - NIGHT
Judy is getting into bed. Betty, in her dressing gown,
is looking out of the window toward the boys'
Bob is still pacing up and down on
the porch... I think I'll go out
and see what's bothering him.
That's how I started in Canton,
This is Vermont. Nothing can
Keep your guard up... That ain't
Coolidge out on that porch.
Betty throws her a look, and exits.
131. EXT. BOYS' BUNGALOW - MED SHOT
Bob stands on the porch, in robe and slippers, thought-
fully puffing at his pipe. Betty comes into scene.
What are you doing? Sleep walking?
Betty comes up on the porch.
Whatever you've got on your mind
isn't worth staying awake for.
Where have I heard that?
Tell you how I handle a situation
like this, Doctor.
She starts to sing, COUNT YOUR BLESSINGS. At the
conclusion, she walks away, leaving him standing
132. CLOSE SHOT - ARCHED SIGN IN FRONT OF INN - (NIGHT)
This sign announces the show opening. People are
streaming into the inn.
133. MED. SHOT - INT. WAVERLY'S QUARTERS
The General is in his dressing gown, furious. Martha
and Susan are playing a part.
How could you send all my suits
to the cleaners?
You've only got two.
Why can't you wear your uniform?
I won't appear in uniform!
Very well. I'll explain to Bob
and Phil that you didn't care to
come to the show tonight.
I'll have you court-martialed!
You don't mind being ungrateful,
you just don't like being told
(Follows it up)
If you think you don't owe them
anything, you're not obliged to go.
They haven't done much for you.
Hardly anything. You do what you
think is right!
Martha, I'll make my own decisions!
I got along very well in the army
It took 15,000 men to take my place!
She stalks out.
134. FULL SHOT - INN FLOOR - (NIGHT)
It is slowly filling up. One of the guiding officials
turns out to be the Sheriff we have previously seen.
(Seating a party)
Right this way.
135. MED. SHOT - INT. MAKESHIFT DRESSING ROOM - BOB AND PHIL
They are getting into their old uniforms, which are
(At the trousers)
This thing's shrunk.
(Looking at the bulge)
Pants always shrink in closets.
I can't breathe in this. What
am I going to do?
I know what I'm going to do.
I'm going to take one big deep
breath, and that's going to be
it for the next three hours.
Bob takes a deep breath and gets the top button
136. MED. SHOT - LOBBY STAIRWAY - (NIGHT)
General Waverly comes down the stairs, cutting quite
a figure in his uniform and decorations. Martha and
Susan, waiting for him at the bottom, look him over,
Well, I couldn't come down in
137. FULL SHOT - INN FLOOR
The spotlight prepared, pinpoints the General as he
enters the room, and the music starts. The audience
rises and applauds. He can't believe it. He reaches
his table, decorated with flowers, and recognizes he
is the guest of honor. From the lobby we hear the
outfit SINGING the opening strains of THE OLD MAN. All
eyes turn to the lobby entrance, through which the old
outfit marches, and continues to the stage, and then
back to their respective tables as the song finishes.
138. MED. SHOT - WAVERLY
He is profoundly moved and walks to the stage. The
audience is seated. Waverly looks at the assembled
crowd with great affection. The people begin to
shout, "Speech! Speech!" Martha and Susan sit.
The crowd quiets, waiting for the speech.
(He must have had a
blood transfusion from
a sergeant at some time)
I am not satisfied with the conduct
of this division! Some of you men
are under the impression that having
been at Anzio entitles you not to
wear neckties! You are wrong! Neck-
ties will be worn in this area! I
have also noticed a deterioration
in the quality of saluting! This is
to be improved! I have also had com-
plaints from the commanding officer
of the rest area in Naples! He informs
me that the non-fraternization rule is
constantly being broken by men of this
division! In fact, this division is
outstanding in its violations of non-
fraternization! You all know the rules!
The non-fraternization ban expressly
declares you are not to talk to women!
(A slightly different tone)
Don't talk to them! That is all!
They howl and cheer. He makes has way toward his
own table, greeting old friends on the way.
139. MED. CLOSE SHOT - BOB AND PHIL
As they step to the front of the stage.
(To the audience)
Doesn't that bring back memories?
Remember those terrible, trying days
in Italy...when we had to beat the
women off with chocolate bars?
And wasn't it awful the way they
kept bothering us for American
cigarettes? Why, I must have
taught fifty girls how to smoke...
For a month's pay all we got was
950 million lira...
Nine hundred and fifty two...
I was forced to hire a caddy for
my loose change.
I'm glad I'm well out of it.
Phil looks at him.
Who are we kidding?
This is the cue for the orchestra to start the produc-
tion number, I WISH I WAS BACK IN THE ARMY. At end
of number -
140. AUDIENCE - FULL SHOT
As they applaud and cheer. The old outfit is happy.
In the exultation, General Waverly places two fingers
to his lips and blows a whistle of sheer pleasure and
approval. We underscore with MUSIC indicating another
number is taking place on stage, although we do not
141. SECTION OF AUDIENCE - MED. CLOSE
Ed Harrison crosses to General Waverly and whispers
Long distance call for you, sir.
Waverly looks surprised, but rises and starts out.
Bob, visible in b.g., has been watching. He and
Harrison exchange knowing glances.
142. AT HOTEL DESK - MED. SHOT
The lobby is empty; in b.g. are the doors to the
dining room, where the show is in progress. The
telephone lies on the counter. Waverly enters and
crosses to it. He is a little annoyed at being
forced to leave the entertainment.
(Into phone, gruffly)
Hurry up, hurry up, I'm busy.
Yes, this is General Waverly,
He suddenly snaps to attention, the old soldier.
And a Merry Christmas to you, Mr.
President... Yes, practically the whole
outfit is here. A little paunchy, but
they're here. It certainly was a
surprise -- more like a frameup. As
usual, my Intelligence was not functioning
That's very nice of you, Mr. President...
any time you want me, just say the word...
but may I add this? It isn't always
necessary to take a job...sometimes it's
enough just to know it's there.
Through the window behind the General we have seen
it begin to SNOW. The General notices it for the
first time, and his face brightens.
If you ever take it into your mind
to grab a little rest from all that
work I wish you'd drop in on us here --
I can't promise you any golf but --
(As he looks at the
-- we can certainly give you plenty
of snow, Mr, President... Yes, Mr.
He hangs up the phone, and proudly, head erect, he
walks through the lobby, smiling, eyes wet. He lifts
the bell on the desk with a loud bang. Martha
hurries in, startled.
You frightened me to death! That
bell hasn't been used for three
Get this area policed up. No telling
who might be dropping in.
She and the General gaze at the snow falling beyond
the lobby door which is blown open by the wind.
Underneath all this we have been hearing the
introductory music to WHITE CHRISTMAS, which is
the number now in progress on the stage. Waverly
now turns and walks into the dining room.
143. INT. DINING ROOM - MOVING CAMERA
CAMERA FOLLOWS Waverly on his entrance. As he passes
Susan, we see she is reacting to something on the stage.
CAMERA PASSES Waverly and moves to:
144. STAGE - FULL SHOT - MOVING CAMERA
Center stage, there is a large cutout of a decorated
Christmas tree. Also, there is considerable Christmas
holly, mistletoe, etc. Bob and Betty are seen
singing. Throughout action of this number Phil and
Judy dance. In addition there is staged movement by
the ensemble. Bob and Betty are on each side of the
cutout Christmas tree, but it is obvious that Betty
is preoccupied with some stage business which she is
manipulating with one hand behind the cutout tree.
CAMERA FOLLOWS Bob and Betty as their movement takes
them behind the tree. It is now that we see very
clearly that the rear wall of the stage (two immense
barn doors) has opened; in b.g. we see the Vermont
countryside being covered by the falling snow. Also,
we see pine trees in the snow that are decorated.
Betty steers Bob to a point directly beneath a sprig
of mistletoe from which is also hanging the mate to
the sock she gave him in scene 110. Bob looks up,
sees the mistletoe and the sock, and smiles at Betty.
She lifts one of his trouser legs and we see that he
is wearing the other sock. They laugh and embrace.
145. REVERSE SHOT - FROM DINING ROOM
The cutout tree onstage rises to the flies and now
the real trees and falling snow in b.g. are completely
visible. One by one, the trees are lighted.
146. AUDIENCE - MED. CLOSE
Martha and Susan are standing happily beside the
General, each holding one of his arms.
147. EXT. VERMONT TOWN - EXTREME HIGH SHOT - (MINIATURE)
A church bell is framed in the foreground, and, far in
the distance, we see the town and the Inn and the
snow as we
July 7, 1953
The Old Man
We'll follow the old man wherever he wants to go
Long as he wants to go opposite to the foe
We'll stay with the old man wherever he wants to stay
Long as he stays away from the battle's fray
Because we love him, we love him
Especially when he keeps us on the ball
And we'll tell the kiddies we answered duty's call
With the grandest son of a soldier of them all
Sisters, sisters, there were never such devoted sisters
Never had to have a chaperone, "No sir"
I'm there to keep my eye on her
Caring, sharing ev'ry little thing that we are wearing
When a certain gentleman arrived from Rome
She wore the dress and I stayed home
All kinds of weather, we stick together, the same in the rain or sun
Two diff'rent faces, but in tight places, we think and we act as one
Those who've seen us know that not a thing could come between us
Many men have tried to split us up, but no one can
Lord help the mister who comes between me and my sister
And Lord help the sister who comes between me and my man
[Male version, not in film:]
Brothers, brothers, there were never such devoted brothers
When there comes a glamor girl who's nice and trim
He watches me and I watch him
Caring, sharing, ev'ry little thing that we are wearing
When a certain signorina came from Rome
He wore the blue serge, I stayed home
All kinds of weather, we stick together, the same in the rain or sun
Two diff'rent faces, but in tight places, we think and we act as one
Those who've seen us know that not a thing could come between us
Many girls have tried to split us up, but no one shall
Lord help another who comes between me and my brother
And Lord help the brother who comes between me and my gal
Count Your Blessings Instead of Sheep
When I'm worried and I can't sleep
I count my blessings instead of sheep
And I fall asleep
Counting my blessings
When my bankroll is getting small
I think of when I had none at all
And I fall asleep
Counting my blessings
I think about a nursery and I picture curly heads
And one by one I count them as they slumber in their beds
If you're worried and you can't sleep
Just count your blessings instead of sheep
And you'll fall asleep
Counting your blessings
What Can You Do With A General?
When the war was over, why, there were jobs galore
For the G.I. Josephs who were in the war
But for generals things were not so grand
And it's not so hard to understand
What can you do with a general
When he stops being a general?
Oh, what can you do with a general who retires?
Who's got a job for a general
When he stops being a general?
They all get a job but a general no one hires
They fill his chest with medals while he's across the foam
And they spread the crimson carpet when he comes marching home
The next day someone hollers when he comes into view
"Here comes the general" and they all say "General who?"
They're delighted that he came
But they can't recall his name
Nobody thinks of assigning him
When they stop wining and dining him
It seems this country never has enjoyed
So many one and two and three and four star generals
Love, You Didn't Do Right By Me
Love, you didn't do right by me
You planned a romance that just hadn't a chance
And I'm through
Love, you didn't do right by me
I'm back on the shelf and I'm blaming myself
But it's you
My one love affair didn't get anywhere from the start
To send me a Joe who had winter and snow in his heart
Love, you didn't do right by me
As they say in the song
"You done me wrong!"
[alternate line for male:]
To send me a Jane who had thunder and rain in her heart
Gee, I Wish I Was Back in the Army
When I was mustered out
I thought without a doubt
That I was through with all my care and strife
I thought that I was then
The happiest of men
But after months of tough civilian life
Gee, I wish I was back in the Army
The Army wasn't really bad at all
Three meals a day
For which you didn't pay
Uniforms for winter, spring and fall
There's a lot to be said for the Army
The life without responsibility
A soldier out of luck
Was really never stuck
There's always someone higher up where you can pass the buck
Oh, gee, I wish I was back in the Army
Gee, I wish I was back in the Army
The Army was the place to find romance
Soldiers and WACS
The WACS who dressed in slacks
Dancing cheek to cheek and pants to pants
There's a lot to be said for the Army
A gal was never lost for company
A million handsome guys
With longing in their eyes
And all you had to do was pick the age, the weight, the size
Oh, gee, I wish I was back in the Army
Gee, I wish I was back in the Army
The shows we got civilians couldn't see
How we would yell for Dietrich and Cornell
Jolson, Hope and Benny all for free
[alternate line from sheet music:
Crosby, Hope and Jolson all for free]
There's a lot to be said for the Army
The best of doctors watched you carefully
A dentist and a clerk
For weeks and weeks they'd work
They'd make a thousand dollar job and give it to a jerk
Oh, gee, I wish I was back in the Army
A Man Chases a Girl (Until She Catches Him)
A man chases a girl until she catches him
He runs after a girl until he's caught
He fishes for a girl until she's landed him
It all comes out exactly the way she thought
Uncertain, he tags along behind
Uncertain, till she makes up his mind
A man chases a girl until she catches him
But don't run too fast while you are saying "No"
And once you've caught him, don't ever let him go
Very many years ago
Mister Edgar Allan Poe
Wrote a little poem I know
When I read those clever rhymes
Of the many different chimes
I could almost hear them ringing
Ding dong dinging
Phone bells, sleigh bells
And very merry Christmas day bells
The brazen fire bells that ring with fear
And happy New Year bells that ring out once a year
Cow bells, door bells
For all I know there may be more bells
But the poet tells
That wedding bells
Have the sweetest little ding dong of all
[VERSE (not in film):]
The sun is shining, the grass is green
The orange and palm trees sway
I've never seen such a day
In Beverly Hills, L.A.
But it's December the twenty-fourth
And I am longing to be up north
I'm dreaming of a white Christmas
Just like the ones I used to know
Where the treetops glisten and children listen
To hear sleigh bells in the snow
I'm dreaming of white Christmas
With every Christmas card I write
May your days be merry and bright
And may all your Christmases be white